Soren Andersen

Filmed in sepia tones to give it period flavor, infused with a sense of unrelieved tension and paranoia, and climaxing with a furious gunbattle, Anthropoid is a gripping picture.

The teenage, first-time actor certainly holds his own with the experienced likes of Matthew McConaughey and Jennifer Jason Leigh. But at the same time, he gives the impression of being just slightly disengaged from the part, almost as though he’s spectator at the kid’s life.

All Is True is handsomely mounted, filled with shadowed interiors underscoring the darkness of its story, the darkness artfully interrupted by candlelight and firelight. The movie’s impressive appearance notwithstanding, Shakespeare’s domestic problems do not a classic make.

Solid storytelling, a longtime strength of the best Pixar pictures, elevates Cars 3 into the pantheon with the studio’s finest.

You expect lots of fight scenes in a Wick movie, and Ballerina certainly delivers on that score. Overdelivers, in fact. It’s one damn dust-up after another.

Jumanji: Welcome to the Jungle is reasonably clever and reasonably diverting.

It is the scenes in a Buenos Aires safe house between Eichmann (Ben Kingsley) and Mossad agent Peter Malkin (Oscar Isaac), the leader of the abduction team, where “Operation Finale” departs from usual espionage-movie scenarios.

Rather than using the extended running time to dig deep into these characters, director Andy Muschietti, who also directed the original, piles on the frights in a manner that builds to an ending drenched in hysteria.

Two very strong performances anchor Potato Dreams of America, Seattle-based filmmaker Wes Hurley’s thought-provoking dramatization of his childhood in his native Russia and, later, as a teen in Seattle.

Mark this one down as a sequel that should never have been made.

The humor is broad and obvious (yes, Ferdinand winds up in a china shop, with predictable results), but there are a number of scenes that hit the mark.

Creative Control is a hypnotic voyage into a society where technology addiction comes to rule and ruin those who fall under its seductive spell.

Gordon-Levitt carries the movie, and without flash or overt dramatics, overshadows everyone else in it.

It’s all undeniably silly, but satisfying in an overstuffed blockbuster sort of way.

Part 2 is undeniably lively and very obviously pitched to young kids. It’s colorful but not especially distinctive.

The segments, though short, are nastily effective.

The storm effects are first-rate, immersive all the way. The tale-telling ability of director Craig Gillespie is frustratingly inconsistent.

Along the way, Hummingbird offers cogent commentary on the way unbridled avarice drives the search for even the smallest advantage in the cutthroat world of high finance.

There are a lot of moving parts here, and Pearce fits them together with admirable skill. Originality isn’t his strong suit, but “Artemis” has enough snaky twists and turns and moody energy to make it a fun ride.

The best thing about The Greasy Strangler: that title. The worst thing about The Greasy Strangler: everything that follows that title.

Holding it all together is Ford, his hair steel-gray, his face craggy, playing the part with authority. And this time he invests Indy with an inner depth not previously seen.

Thanks to Walken’s superlative, multileveled performance and Edwards’ trenchant writing, this complicated guy...is a weirdly beguiling figure.

The picture’s real weakness is that the reanimated dead display a great deal more vitality than the characters in their pre-killed state.

[Ip Man] is the calm at the center of a storm of kung-fu combat sequences, and Yen plays him with grace and serenity.

A more self-impressed movie than Dicks: The Musical would be hard to imagine.

The Wedding Guest is a thriller without thrills.

Strange movie. And despite the presence of Tina Fey playing its lead character, a cable-TV reporter named Kim Baker, it’s not a funny one.

You get a sense [Eli Roth]'s struggling to rein in his penchant for gory frights, and for that reason “Clock” feels like a movie at war with itself.